简爱小姐：维多利亚早期之女屌丝的逆袭
身心俱乏，窝在屋里读治愈系之《简爱》，读了二百来页，发现简爱绝对是维多利亚早期的女屌丝，她的故事堪称女屌丝的逆袭！除了相貌平平、出身寒微、不惹人注目外，简爱还有女屌丝的两个特质：重口味和强大的生命力。
首先，简爱小姐在性方面口味很重。故事里出现的男性，都无一例外地从简爱的视角做了外貌描写。且看她对男性外貌的描写和偏好。简爱男主人公罗彻斯特在小说中第一次回到桑菲尔德庄园，借助桌台上两支蜡烛的光亮，简爱小姐细细地观察了他的容貌：
“with his broad and jetty eyebrows; his square forehead, made squarer by the horizontal sweep of his black hair. I recognised his decisive nose, more remarkable for character than beauty; his full nostrils, denoting, I thought, choler; his grim mouth, chin, and jaw−−yes, all three were very grim, and no mistake. His shape, now divested of cloak, I perceived harmonised in squareness with his physiognomy: I suppose it was a good figure in the athletic sense of the term−−broad chested and thin flanked, though neither tall nor graceful.”
通过上面的头部特写和罗彻斯特身材整体之协调的初步印象，可见简爱对这种维多利亚时期充满男性气质的典型外貌颇有好感。到第200页（牛津世界经典版），罗彻斯特的疯妻梅沙的兄弟从加勒比来访，偷窥欲强的简爱小姐再次细致入微地观察道：乍一看，他相貌堂堂，举止有礼；但再一细看，眼睛虽大又好看，但眼神空洞，太过温顺！晚餐过后，简爱又开始盯着他看（简爱小姐你是有多花痴！），对他的外貌评价每况愈下了：
“But I liked his physiognomy even less than before: it struck me as being, at the same time, unsettled and inanimate...For a handsome and not an unamiable-looking man, he repelled me exceedingly: there was no power in that smooth-skinned face of a full oval shape; no firmness in that aquiline nose, and small, cherry mouth; there was no thought on the low, even forehead; no comand in that blank, brown eye.”
用repell这个词表达她对清新、俊秀的男子的反感，而对粗犷坚毅的硬汉型外貌的着迷，足见简爱口味之重。在维多利亚早期的主流文学作品里，女子（尤其未婚女子）的性冲动是文本禁忌，而《简爱》在这方面显然是异常大胆的，单从对男性身体的聚焦描写便可见一斑，读者能充分感受到简爱内心的焦灼和冲动；也正是因为这个原因，简爱后来并不甘心留在教士约翰身边——他对上帝的奉献和与简爱的血缘关系都与性本能毫无关涉。大概勃朗特为了掩饰文本中的非法的性冲动，1847年付梓出版时用了笔名Currer Bell。
其次，在压制重重的维多利亚社会，简爱依靠自身强大的生命活力突破重围，通过性格力量重塑自我和他人的关系，从底层僭越至上层。在成为庄园女主人之前，简爱有两个竞争对手：来自牙买加的前妻Bertha和与罗彻斯特有暧昧关系的英格姆小姐。Bertha因精神失常成了“阁楼上的疯女人”，是比简爱还边缘化的边缘人物，于是英格姆就成了简爱幸福归宿的最大绊脚石。女管家Mrs. Fairfax向简爱描述英厄姆小姐美丽的容貌后，倔强顽强的简爱在暗恋的情愫中变得不自信了，于是扪心自问，如此平凡的自己怎能跟英格姆小姐媲美？：
“Listen, then, Jane Eyre, to your sentence: tomorrow, place the glass before you, and draw in chalk your own picture, faithfully; without softening one defect: omit no harsh line, smooth away no displeasing irregularity; write under it, "Portrait of a Governess, disconnected, poor, and plain"”
细读上面简爱小姐的近乎自虐的自我侮辱，很容易体味她内心恨铁不成钢般的愤怒（伍尔芙就曾批评勃朗特这部作品的字里行间涌动的汹涌澎湃的rage，阻碍的她的才思）。那接下来要怎么办呢，自暴自弃，还是背水一战？我们不要忘了，简爱从小到大早已习惯了在缝隙里挣扎活命，无论在冷酷无情的里德舅妈家，还是在环境恶劣的罗伍德女子寄宿学校，都是颇有能力审视夺度、抓住机会自我成长的，一种命运抗争的种子早就在她体内生根发芽了。所以，她能迅速调整心态，在几天后的桑菲尔德庄园聚会上，通过偷偷观察英格姆小姐的言行和Rochester对她的回应，简爱又有了自信，冷静地告诉读者：她并不嫉妒英格姆小姐，在罗彻斯特和英格姆小姐的亲密关系上，她内心的痛楚无法用“嫉妒”二字形容。让读者更震惊的是，这个其貌不扬、出身卑贱、为宾客取笑的女家庭教师竟然没有把出身高贵、面容姣好的英格姆小姐放在眼里：She was too inferior to excite the feeling. 如此悖论，原因何在？简小姐明确告诉读者，英格姆缺失人格的本真，毫无感受力和思考能力：
“She was very showy, but she was not genuine: she had a fine person, many brilliant attainments; but her mind was poor, her heart barren by nature: nothing bloomed spontaneously on that soil; no unforced natural fruit delighted by its freshness. She was not good; she was not original...”
简爱强大的生命力和浑身散发的originality弥补了她容貌的不足和出身的卑微，当然还有与她激情澎湃的个性相当的叙事能力（注意文中经常出现的简爱与读者的直接对话，如最后一章简爱告诉我们：Reader, I married him.），使她不仅最后征服了罗彻斯特，也征服了每一代读者，可谓女屌丝的逆袭！
(以上文字为转载 作者：海之子)
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